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...Illustration Paper... 

WE have every confidence in placing this paper on the market. It has been subjected to very 
exhaustive tests, not only for Water Color Work, but also for Pastel, Pencil, and Charcoal 
Drawings, as well as for General Black and White Work for reproduction, and in every 
instance the result has been entirely satisfactory. Dealers may confidently recommend its use where 
an inexpensive, reliable Drawing Paper for general purposes is required. 

It is supplied in Sheets and in Continuous Rolls, £4 inches wide, at the following prices: 


CAP I2!£ x I5J£ 14 lbs. $030 

DEMY .... 14^x18 20 lbs. .40 

. MEDIUM . \6 l / 2 x 21 25 lhs. .50 

ROYAL .... 19^ x 24 44 lbs. .90 

IMPERIAL . . . 22 x 30 65 lbs. 1.25 

" It is the best paper I ever used, not only for Black and White work, but for Water Color, Pen or Pencil. I like it better than any paper 
I used in the United States or Europe, therefore do not hesitate in making the above statement." 

Very sincerely yours, H. G. MAR ATT A, 180 Dearborn St., Chicago, 111. 



For Water Color and General Black and White Work for Reproduction. It is also recommended for Paste/, Pencil, and Crayon 

Work, Made in three st-zes — 30 x jo, 22 x j»o, 20 x 30. 

t tt o xt t t j r^ American Offick 

Winsor & Newton, Ltd., London, bng. 88 Fulton Street, New York 

The Macatawa Bay Summer School of Drawing and 

PaWtWP — July p to August 18, under the direction of Frank Forrest Frederick, 
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color, pastel, charcoal, chalk, pencil, and pen and ink ; landscape composition ; design. Instruction in 
CHINA PAINTING with the Schumacher colors, which are used with the same freedom and direct- 
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and lodging from $5.00 to $15.00 per week. 

For further information, address, as above, Urbana, Illinois. After June 15, Macatawa, Michigan 


Importer and Dealer in Foreign and American Paintings 

45 East Jackson Boulevard, CHICAGO, ILL. 

Between Wabash Avenue and State Street 

Has just received a beautiful example by the late George Inness, Corot, Jules Dupre, T. Robie, 
G. Bernier, Jean Portielje, Chas. Sprague Pcarce, Felix Ziem, Prof. Papperitz, Tamburini, 
Rinaldi, Le Roux, Sergent, Beauquesne, Detti, Chica, Landelle, Deyrolle, Verberckhoven, Van 
Leemputten, Van Eycken, Van Sluys, J. G. Brown, and others. 



Tourist Resorts reached via the Iron Mountain Route 

Winter Tourist Tickets at greatly reduced rates now on sale to Hot Springs, Arkan- 
saw, San Antonio, Galveston, Tex., Mexico, California, and principal winter resorts 
in the Southwest. For rates and other information, address 

H. C. Townsend, G. P. & T. A., St. Louis, Mo. Bissell Wilson, D. P. A., in Adams St., Chicago 

When writing to aQrertifere, pleaae mention Brush and Pencil. 



The Rinehart Scholarship in Sculpture 
will be extended to some worthy aspirant 
again this year. It will be remembered that 
Hermon A. MacNeil and A. P. Proctor, the 
present holders, have finished their obliga- 
tions. Mr. MacNeil returns to the United 
States from Paris this summer. This schol- 
arship is open to men only and under thirty- 
seven years of age. They must be unmar- 
ried. The scholarship yields $1,200 per 
annum, with lodgings in the Villa deir 
Aurora in Rome. For circular, address 
Thomas W. Hall, Chairman of Rinehart 
Fund, Peabody Institute, Baltimore, Md. 

Mr. Albert Lynch, the distinguished 
Parisian painter, has been a resident recently 
in Chicago. Among other things he said 
the following in a recent interview : 

"American art students in Paris are rap- 
idly gaining reputation and recognition. 
Considering their numbers, it strikes me 
they are carrying off the greater number of 
medals from the salons. The French are a 
generous people and the American artists 
have been receiving unstinted praise lately. 
I know many whose work is held by the 
French to be equal to the best of the French 
painters. They have been admitted to all the 
competitions for which they are eligible, 
without discrimination." 

Prof. Charles Eliot Norton, of Harvard 
University, has been named as one of the 
literary executors of the late John Ruskin. 
Prof. Norton has declined an invitation to 
write a biography of Ruskin. 

Frank D. Millett has charge of the interior 
decoration and arrangement of the United 
States building at the Paris Exposition. 
The entrance is a hemicycle. Below the 
arch is a frieze by Robert Reed, who also 
contributes two figures for the pendentives 
of the central rotunda. Elmer E. Garnsey 
will embellish the lunettes, and the eques- 
trian statue of Washington, modeled jointly 
by Daniel C. French and E. C. Potter, will 
be placed in the center. 

In an interview with Mr. Robert C. Minor, 
at his studio at the Sherwood, he expressed 
his gratification at the result of the Evans 
sale so far as he was personally concerned. 
"But," he said, "the applause which greeted 
the bid of three thousand and fifty dollars for 
my 'Close of Day/ was as much directed to 
American artists, as a body, as to myself in 
particular. Hitherto Americans have lacked 


Atelier Fitzwilliam 

Auditorium Building 

INSTRUCTION in architectural 
-*- design and rendering after the 
manner of the £cole des Beaux Arts 
of Paris, France. :::::::::::: 

At the Sign of 

The Copper Kettle 

64.O Fine Arts Building 


Branch of said Copptr Kettle 

J02 Marshall Field Building 

Old Pewter, Copper, and Brass, Colonial 
China, Photographs sent by mail. 

Shinnecock Summer School of Art 


Tenth Skason: 
Junk i to October i, 1900 

Instructor: WM. M. CHASE 

Classes for men and women in oils, water-color, 
pastel, and black and white. 

Open-air classes in landscape, marine, and from- 
the costume model. Studio classes in portraiture 
and still life. 

For further information address 
303 Fifth WM. M. CHASE, Manager, or 

Avenue C. P. TOWNSLEY, Jr., Ant. Manager. 

INSTRUCTION BY MAIL. illu b s e T rator 

Art Students 
Illustrating League 

8 E. 15th St., New York City, 
teaches drawing for newspapers, magazines, books, poems, humor- 
ous sketches, fashions, society events, color and wash work; 
beginners and advanced pupils coached, positions secured, work 
furnished. Circulars sent free. W. K. Ciiampney, Director. 

A Liberal Offer 

Will be made for a few copies of Brush and Pencil, issues 

Vol I, Nos. 1 and 2; Vol. II, No. 4. 

These copies are wanted to complete files for binding purposes, 
and subscribers to Brush and Pencil who have kept former issues 
of the magazine will find it to their interest to communicate with 
this office. Thk Brush & Pencil Publishing Company, 

215 Wabash Ave., Chicago, McClurg Building. 

When writing to advertisers, please mention Brush and Pencil. 


A,5\bsoi ute, Perfection 

Vil ^>^*R Colours. 

ROWNEY'S Finest Grout! 


ARE THE Most Brilliant, '} 


When writing to advertise™, please n 

i Brush and Pencil. 


the opportunity to compete with the world, 
and the Evans sale gave them that oppor- 

A bill providing for an Art Commission, 
which has been introduced in both houses 
of Congress, is a measure directly in the line 
of effort so persistently followed by the Pub- 
lic Art League of the United States, an or- 
ganization formed several years ago, with a 
view to securing better results in federal, 
state and municipal architecture, statuary, 
decoration, etc., etc., and incidentally for the 
improvement of public parks, squares, etc. 
The bill, it is understood, has the approval 
of not only the league, but of the American 
Institute of Architects, the National Sculp- 
ture Society, and the National Academy of 
Design, all having the same' general ends in 
view, and all represented more or less largely 
in the membership of the league. It may 
properly be mentioned here that the officers 
and directors of the league are: R. W. 
Gilder, editor of Century Magazine, presi- 
dent ; R. S. Peabody, president of the Ameri- 
can Institute of Architects, first vice-presi- 
dent; Augustus St. Gaudens, second vice- 
president; John La Farge, third vice-presi- 
dent; T. M. Clark, recording secretary; 
Glenn Brown, secretary ; Robert Stead, 
treasurer. Among the directors are T. R. 
Procter, president civil service commission ; 
J. W. Ellsworth, Montgomery Schuyler, 
Charles Dudley Warner, William R. Harper, 
D. C. Gilman, Edward Robinson. D. C. 
French, Mrs. Bellamy Storer, and Joseph 

Ra ffa el le waxes complimentary of Chicago. 
In a recent interview in Paris he said : "In 
Chicago I found a colony of artists whose 
zeal and accomplishment are really tremen- 
dous, and I found the galleries . better than 
even five years ago. The artists there no 
longer seek inspiration and authority in 
Europe, although almost all of them have 
been educated, in part at least, in Paris. 
They construct their ideals, and then follow 
them out in that vigorous, businesslike way 
that is the characteristic of American life. 
This independence, this true artistic instinct, 
will make Chicago one of these days a great 
art center." 

Mr. Harrison S. Morris, the managing di- 
rector of the Pennsylvania Academy, is cred- 
ited by the Philadelphia Press with the 
remark that George de Forest Brush is the 
' only person he knows who can afford to have 
a large family. Brush has painted at least 



' Artists Materials SSgSi j 

or oil and mter-colar painting, pencil and char- ; 

White China for Decoration ■ 
and China Painters' Supplies. 

Special attention to trtlrtle picture framing. \ 

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NOW r ^ s t ^ ie ^ me to subscribe for 


Note Our Special Offer 

The Burbank Indian Portraits which appeared in Brush & Pencil 
during the past year have been so well received by all who realize their value as 
an educational medium, and also prize them for their historical and artistic 
merit, that we have decided to send them 

Free to all New Subscribers to Brush & Pencil 

\\ r\x> (D^ £r\ f A yearly subscription to Brush & Pencil and SIX (6) 
J? \JL vJjZ.^KJ | of the Burbank Indian Portraits, Series B. 

T^^l* (D/% r\r\ j A yearly subscription to Brush & Pencil and the entire 
X Ul iiJ^9\J\J | series of twelve pictures, Series B. 


The April number of Brush & Pencil, the only American magazine dealing exclusively with American Art, is par- 
ticularly interesting in its articles and illustrations on the modern tendencies in American architecture. Robert Spencer 
treats of " Couutry Homes," a subject in which he has taken particular interest and to which he brings a cultivated taste 
and practical experience. "Suggestions for a Small City Park," by B. B. L,oug, with plans and elevation, is au inspiration 
founded on the activity of the Chicago Woman's Club. "The Second Instalment of the Regular American Architecture 
Series," by G. R. Dean, deals with glass, with some very modern and characteristic illustrations. "The National Society 
of Miniature Painters," by Gardner Teall, is another paper which is beautifully illustrated. The initial article deals with 
the Art of Charles Herbert Woodbury, a painter of the sea, illustrated by half-tones and some charming reproductions, by 
a new process, of pencil sketches. The froutispiecc is a color plate of " A Wordless Farewell," by Richard I,orenz, which 
illustrates a touching episode of frontier life. Two inserts, printed in dark green, " Mid-Ocean," by C H. Woodbury, and 
a Miniature, by W. J. Baer, with other full-page illustrations of American paintings at the Paris Exposition, by P. D. Millet 
and Theo. Robinson, with other articles, and the usual editorials, make up one of the richest numbers this progressive art 
magazine has so far issued. 

Date, March IQOO. 


Publishers "Brush £s? Pencil" 215 Wabash Ave., Chicago 

Inclosed please find $2.$o (TZZX or " J for which please send "Brush £5? Pencil" 

for one year, beginning with 


P. 0. Address. • 

Please send sample copies {free) to : 


five family gruups. depicting his own wife 
and children. Four of these works are 
owned by the Pennsylvania Academy, the 
Boston Museum of Fine Arts, Mrs. J. Mont- 
gomery Sears and Mrs. Potter Palmer. 
Each successive picture in the series shows 
another small Brush added to the list. The 
latest group has five children in it, and the 
Philadelphia statisticians reckon that its 
price ought to be $15,000. 

Mr. Andrew Carnegie has recently [riven 
to the Cooper Union of New York a gift of 
$300,000, which will enable the opening of a 
day school for the study of the mechanical 
arts in this institution. With another $200,- 
000 advanced by the trustees, 500 pupils can 
be taught the mechanical arts and the plans 
of the late Peter Cooper carried out. 

The Fairmoimt Park Art Association has a 
total membership of 1,280, and in its twenty- 
seven years of existence it has been able to 
accumulate, after large expenditures, a 
permanent fund of $85,000. 

It was th rough the efforts of this associa- 
tion that the Smith bequest of $500,000 is 
now being expended in the erection of a 
memorial of the Civil War. 

We quote some pointed observations by 
Hamlin Garland on the decorations of the 
Congressional Library at Washington : 
"The decoration of these buildings registers 
a curious stage in American art life. For 
some reason many of our painters to-dav are 
frankly scornful r}f US. They consider their 
native land barren and hopeless, a place unfit 
for them to inhabit. They sneer at the no- 
tion of a national art. To be 'little French- 
men,' to paint canvas that shall look like the 
success of the year in Paris, is to these men 
better worth while than the delineation of 
any phase of American life whatsoever. 'I'd 
rather be a beggar in Paris than a millionaire 
in America,' said an artist to me. They 
have no part in American life ; those of them 
who remain at home herd together in the 
great cities; they mav he found constantly 
at the clubs, where they talk each other into 
deafness if not into silence. Thev copy each 
other even to the brush-stroke. They go to 
Paris if they can: if they can't thev com- 
plain of their hard lot. The Alleghemes. the 
great plains, the Rocky Mountains, the Sier- 
ras and the western sea are to them names. 
The life of the farm, the workshop and the 
mines has for them no interest. At the verv 
best they endure New York City." 

Eric Pape School of Art 


and 111 Hit rater. Asiitlant Instructor, 

VJAGNlFICENTnc .ludi«, ««cimlly duignedind 

ton. No rumination (or •dmiuioa lo any of Ihc dUKt' 


>»■■ Mass. Avt. and BeyUtm St.. Bcslon, Mat. 

Art Galleries 

\ LI. kinds Photography, Artistic 
■**■ Framing and Headquarters for 
C. D.Gibson's Pen Sketches, 1 95-1 97 
Wabash Ave. Tel. Main-2727. 

When writing to advc 

rs, please mention brush and Pencil. 






TT is a fact that there are over 60,000 
different ways of going from New York 
to California and back, but The Burlington 
Route is the natural link between Chicago 
or St. Louis and the Rocky Mountains. 

Every week an organized party 
leaves Boston for California via 
Niagara Falls, Chicago, Denver 
and Salt Lake, in charge of a 
special conductor. Pullman 
Tourist cars are used. They 
lack only the expensive finish of 
Palace cars, while the cost per 
berth is about one-third. Similar 
parties leave each week from St. 
Louis also. 

"Vciiomlone park" 

Ait the titlee ol descriptive 
can be had without charae up™ 
P. S. EUSTIS, General Pi 
C. B. & 0. R. R., CHICAGO. 

«It*$ all in the Lens" 

The most popular Camera of the day is the 

Long Focus Korona 

Among Its Advantages 
/( has a Double-Sliding Front, Convertible Lens 

It has Double Swing Baek, Rnek ant! Pillion 

The Baek is Quickly Reversible, Ksrona Shutter 

Time, Bulb, ami Iml/intniieous Exposure 




a Day Pays 
for a 


In Tour Home or 
Place of Business 

p ith a world of" telephor 

Measured Service 


Contract Department 203 Washington St. 

When wrltlu» to ad*artl«*ri. plwtw mention Braib and Pencil. 














Architecture, American, A New Move- 
ment IN . . . George R. Dean 
Seven Illustrations 
Architecture and Decoration Gardner C. Teall 
Art as a Rational Use . . . Lucy Silke . 
Art of Illumination, The . . Gardner C. Teall 

Eight Illustrations 
Art Notes ....... 

Arts and Crafts, The — Beauty in Com- 
mon Things . . . D. M. Morrell . 
Ten Illustrations 
Artistic Lithography; Its Present Pos- 

sibilities .... 

Seven Illustrations 
Bitter's, Karl, Statue of Dr. Pepper 

One Illustration 
Bookbindings, Notes on, with Exam- 
ples by Ellen G. Starr 

Five Illustrations 
Book Covers, New . . . 

Eleven Illustrations 
Book Notes .... 
Chant, The .... 

Two Illustrations 
Dallin, Cyrus E., Sculptor 

Twelve Illustrations 
Demand for Art in America, The . 

One Illustration 
Dessar, Louis Paul, and His Work 

Mabel Key . 

M. K. 
Edna Harris 

% //. Sharp 

William Howe Downs 

Adelaide S. Hall 

Lena M. Cooper 

Seven Illustrations 
Dyer, William B., The Photographs of Ralph Clarkson . 
• Nine Illustrations 

Editor, The . . . . . 48, 95, 143, 

Three Illustrations 
Figure Drawing . . . . y. H. Vanderpoel 

Plate VIII. The Head 

Plate IX. The Head ...... 

Plate X, XI. Neck, Throat and Shoulders .... 

Plate XII. The Arm ...... 

Plate XIII. The Figure ...... 

Plate XIV. The Arm and Hand— Male 

Plate XV. The Arm and Hand — Female 


• 254 

. 279 










• 97 

191, 239, 285 


137, 139 

. 187 


French, Daniel Chester, Sculptor Lorado Taft ... 145 

Sixteen Illustrations 
Grumbler in Manhattan, The . . The Grumbler 236 

Grumbler Visits the Museum, The The Grumbler . . 259 

One Illustration 
Japanese Method of Acquiring Abso- • 
lute Knowledge in Art, A Note on 

THE . . . . . Gardner C. Teall . 172 

Nine Illustrations 
Kai-piex-yao, or Soft Paste Jars . . . . . 177 

One Illustration 
MacNeil, H. A., Some Recent Work by ..... 68 

Two Illustrations 
Melaun, Ernst— A Worker in Iron Wilhelmena Seegmtller . 60 

Eight Illustrations 
Murphy, Hermann Dudley, . Dora M. Morrell . . .49 

Eight Illustrations 
Murphy's, Hermann Dudley, Note on 

Sketching Class . . M. K. . . 57 

New York Art ......... 270 

New York Art News . . . . . 218 

Pennsylvania Academy of the Fine 
Arts, Sixty-Ninth Annual Exhibi- 
tion OF THE .... Francis y. Ziegler . 262 

Seven Illustrations 
Philadelphia's Photographic Salon Francis J. Zie.gler . 108 

Nine Illustrations 
Pittsburg Exhibition, The . Frances B. Schaefer .125 

Eight Illustrations 
Plaster Casts .... Edna Harris . 58 

Power of Line in Illustration, The Mabel Key . 200 

Fourteen Illustrations 
School with a Purpose, A . . . E. S. C. . . 80 

Sculptors of the United States Pavi- 
lion at the Paris Exposition, The Georgia Fraser 233 
Three Illustrations 
Simmons, Edward Emerson . Arthur Hoeber . . 241 

Seven Illustrations 
Society of Western Artists, The 

Fourth Annual Exhibition of the Edmund H. Wuerpel 165 

Eight Illustrations 
Sonnet— The Columbian Quadriga . Horace Spencer Fiske . 164 

One Illustration 
Statue of the Republic, The . . .163 

One Illustration 
Ugly Duckling, The ....... 19 

One Illustration 
Sterner, Albert E. . Arthur Hoeber . 193 

Five Illustrations 
WOMEN IN THE ART CRAFTS . . /Catherine Louise Smith . . 76 

Brush and Pencil 

n APRIL, 1900 



The theory that a man's choice of profession is governed mainly 
by heredity and environment has numerous exceptions. In some 
families the tradition of vocation is strong and continuous, but most 
American boys enjoy a freedom of choice as to their life-work which 
tends to make them their own arbiters, free to diverge from the 
paternal example to make their success or failure in new fields. 
In Charles Herbert Woodbury's ancestry it is difficult to find any con- 
spicuous instances of iesthetic tendencies, which would account for 
his mental bias, unless by the exercise of some ingenuity we connect 
the fact of inventiveness, a trait prominently possessed by his paternal 
line, with the artistic bent. 

The first of the Woodburys to come from England, about 1640, 
was a civil engineer, who laid out the town of Salem, Massachusetts, 
and who is mentioned in one of Nathaniel Hawthorne's romances. 
A later Woodbury invented that part of the planing-machine which 
gave it its greatest value; also a dummy engine and a submarine gun. 


Like many inventors, the men of the family were whimsical, unbal- 
anced, and not too strong at business. One of them refused a fortune 
for his patent, and died almost poor. On the maternal side, Wood- 
bury's people came from Cape Cod. The Woodburys seem to have 
remained, with a few exceptions, in Essex County, Massachusetts. 
Charles Herbert Woodbury, the subject of this paper, was born in 
Lynn, on July 14, 1864. His early education was obtained in the 
public schools of Lynn, where he was fitted for college, but because 
of his interest in scientific things, he went to the Massachusetts Insti- 
tute of Technology, in Boston, worked his way through, and was 
graduated with honor in 1886 as a mechanical engineer. 

In every leisure hour during his course in technology he was paint- 
ing, preferring this recreation to the joys of the baseball field and the 
river. Perhaps the training of a scientific school was not so incongru- 
ous as might be thought for the profession of a painter. The habits 
of thought there acquired have been for something in the develop- 
ment of a talent which, as we shall perceive, has for long been shaped 
logically with reference to a very definite and high purpose. Two 
evenings a week during the years of severe schooling were given to 
the free life class-work at the Boston Art Club. 

When Woodbury elected to be a painter, after graduation, a pro- 
fessor in the Institute of Technology thbught that there was a brilliant 
mathematician spoiled. But there was no hesitation on the part 
of the graduate. His first studio was in School Street, Boston, where 
he went to work with enormous zeal and enthusiasm in the summer 
of 1886. Fancy his elation when he sold his first picture, a painting 
of a basket on the beach, to Mrs. John A. Andrew, for twenty-five 
dollars! In less than a year he was ready for his first exhibition; 
and I remember, almost as well as if it were yesterday, that little 
exhibition in the old gallery of J. Eastman Chase, in Hamilton Place, 
1887. From it some thirty pictures were promptly sold, for an aggre- 
gate of about a thousand dollars, and our artist was fairly launched 
on his career. 

The significant thing about that first exhibition was that the pic- 
tures had evidently been painted more for the love of painting than 
for the love of nature. That I admired and relished them inordinately 
simply shows that my point of departure for the field of art was 
identical with Woodbury's, and that we both had much to learn. 
Not that there is not something to be said for the ardent paint- 
slinger. It is a good thing for a man to be on friendly terms with 
his materials. Brush-work has potent charms if it is just fluent and 
free enough not to cloud or veil the thought and emotion that 
it should modestly body forth. 

Woodbury, from the start, had a touch that was painter-like. His 
way of laying pigments on a canvas or a panel so clearly betrayed 
his own enjoyment in the process that it communicated a like sensa- 


tion of gusto. He possessed, indeed, a dangerous talent. Precocious 
facility seldom leads up to anything great, and excessive cleverness 
in painting is a notorious pitfall. He must have realized that he had 
made a start in the wrong direction, inasmuch as growth in that direc- 
tion had its immutable boundaries, for he soon proceeded to adopt 


a course of conduct which argued strength of character, making 
a complete right-about-face in his methods and his aims. He began 
to study individual things more closely, to press his nose upon the 
grindstone, and as a first result his painting became tighter and less 
interesting. There was an apparent falling off in quality, in tone, 
in breadth, in dash; but the period of serious work that ensued was 
a time of real training and preparation for higher things, during which 


much that might have ended in meretricious and superficial perform- 
ance was bravely put aside, and our young man got his feet firmly 
planted on the solid earth. He was not satisfied with an easy success. 
He wished to get at the construction of things, in order that he might 
get at the expression of things. 

In 1888 he held a second exhibition in Boston, showing forty-five 
pictures and sketches of the coast of Cape Ann and the humble fishing- 
villages of Nova Scotia. Let painters wander where they may, 
I doubt if they can find anything much more paintable than the rough 

■■""■ v ' 1 


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1 ' 5 


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V***> ■ j 



and broken shores of Massachusetts Bay and the whitewashed cottages 
of the provincial fishermen, with their bleak surroundings, cluttered 
by boats, nets, reels, and the like. 

The pictures of these regions were composed with an unerring per- 
ception of linear effect and that seventh sense which puts things 
together in a pictorial way. The distinctive characteristics of the 
place were grasped; strong light and dark contrasts were brought out, 
the coloring was brilliant and gay, and the work might have been set 
down as good, clear, candid prose-painting, chiefly enjoyable for the 
freshness of the first impression. I remember certain skies in which 


the bold employment of the palette-knife struck me as prodigiously 

In 1890 Woodbury was married to Marcia Oakes, an artist of 
remarkable originality and distinction, whose influence upon his own 
professional tendencies and purposes was to become a constant and 
important factor in his life as a painter. The pair made an extensive 
journey abroad, traveling through several European countries; and 
in the winter of 1890-91 they made their home in Paris, where both 
of them entered anew upon courses of art study, the husband at 
Julian's academy, the wife at Lazar's school. In the spring of 1891 


Woodbury exhibited an etching in the New Salon, and the following 
summer was passed in outdoor work in Holland, where he found 
eminently congenial landscape motives, while his wife made a series of 
charming character studies of children's figures. 

After five months of work in the Netherlands, they returned to the 
United States in October, and took a studio in Boston. In 1892 they 
went back to Holland for the summer, and passed several months 
in Volendam, then a primitive and unknown hamlet on the shore 
of the Zuyder Zee, not far from Edam, where the conditions for paint- 
ing were propitious. Again they returned to Boston for the winter 
season. The next visit to Holland — the third — was still more profit- 
able; they stayed there a year and a half, dividing the time between 


Volendam and Laren. Laren is southeast of Amsterdam, not far 
from Utrecht, and had been made a painting-ground already by the 
modern Dutchmen, more especially by Israels, Mauve, Neuhuys, and 
Kever. Later, the Woodburys made a fourth visit to the Netherlands. 
After each of these trips they returned to Boston, exhibited and sold 
their pictures, and took a new flight. 

An interesting feature of the last of the journeys to Holland was 
a bicycle tour, not on a bicycle built for two, but on two bicycles, 
all around the coast of the Zuyder Zee, and through the comparatively 
unknown provinces of the northeast, Friesland and Drenthe. It was 
the same season that Woodbury established his reputation as a man 
among the seafaring Dutchmen by making a voyage in a little fishing- 
vessel on the rough and stormy North Sea for the purpose of making 
marine studies. The seaworthiness of his legs and his stomach 
excited the candid approval of the Dutch sailors. A hail would come 
from the decks of one of the boats composing the fishing fleet: 

"Is the Englishman sick yet?" 


"Gott ver dicken! Dat is gute!" 

And there he stood on the heaving and sloppy deck, as the 
thickset little hooker plunged through the smother of foam and 
chopping seas, sketching for dear life. I have by me a letter written 
by Woodbury in October, 1895, from Laren, in which he describes 
the unique bicycle tour through the northeastern provinces. 

"About the middle of September," he wrote, "we started with 
our bicycles on a trip to Drenthe, which is a province very little 
known, even to the Dutch people, as it is quite out to one side. 
It seems absurd to speak of anything as out of the way in so small 
a country as Holland, and yet it is so, for Drenthe has but one line 
of railroad running through it, and communication between the other 
towns is to be had by stage, or more often by driving. To give you 
much idea of what we saw would be impossible, but, as you may 
imagine, it was all very quaint. • One is strongly reminded of Hob- 
bema and Ruysdael at every step, not only in form, but in color. The 
houses have most extraordinary pointed thatched roofs, and there are 
groves of fine old oaks everywhere. You couldn't imagine more 
interesting wheeling, for there is interest at every turn. Fancy going 
sliding along a perfect road, with an immense heath on either side, and 
at last coming to some quaint little forgotten town, where, in all prob- 
ability, no foreigner has ever been, and putting up at night at an inn 
that was built when our forefathers were worrying about premature 
and total baldness, and by way of pleasure enjoying a tremendous 
spree when the parson died! Frequently we slept in the town hall, 
and one very weary night we were obliged to sit up long, till the town 
in assembly had bought and sold its manure. Around the hall are 
closets, three feet by six, perhaps, in which the beds are built, like 



Franzen, August. "Charity." Loaned by 
Samuel MacMillan, Esq. 
"The Housebuilder." Loaned by artist. 

Gallagher, Sears. "Foggy Weather" (water- 
color ) . Loaned by artist. 

Gallison, H. H. "A Gray Day." Loaned 
by artist. 

Gauley, Robert D. "Polly." Loaned by 

Gifford, R. Swain. "Headwaters of the 
Westport River." Loaned bv artist. 

Grothjean, Fanny. "The New Moon." 
Loaned by Mrs. Britton Busch. 
"The August Moon" (pastel). Loaned 
by artist. 

Guy, Seymour J. "Preparing for To-mor- 
row." Loaned by artist. 
"Rest." Loaned by artist. 


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name is remembered hereafter it will be as a painter of the sea. The 
sea has been his chief instructor and inspiration. During his first 
voyage across the Atlantic he had begun to make studies of the wake 
of the steamer, and on each of the succeeding voyages for four years 
running he continued to study and to sketch it — above all, to fix 
it in his memory. On the third voyage he succeeded in getting 
a fifteen minutes' sketch of the wake on a terribly rough day by 
wedging himself under a life-raft near the stern, holding the canvas 
down on the deck with his elbows, and painting with a wrist move- 
ment. This hasty sketch became the motive for the picture. As soon 
as he reached Laren he started a twenty-by-thirty canvas, and put 
into it' everything that he could remember of the subject. Later 
he began his full-sized composition on a canvas four by six feet, on 
which he worked through the whole winter at Laren and Volendam. 
The picture was finished in 1894, and was exhibited at the Paris Salon 
that year under the title "Serpente Verte." At the Boston Art Club, 
in 1895, ft appeared as "Mid-Ocean." Many persons then believed 
that it should have taken the first prize. The majority of the jury 
thought otherwise. Several years later it was bought for twenty-five 
hundred dollars by the Berkshire Athenasum, of Pittsfield, Massachu- 
setts, where it now hangs. 

"Mid-Ocean" may be said to be Woodbury's first serious effort to 
convey a personal impression of a great motive — nothing less than 
the majesty and beauty of the sea. For all who have seen and noted 
the color, movement, and form of the wake of a steamer the picture 
brings a stirring reminder of a splendid spectacle, but one so tran- 
sitory and evanescent as to defy description and analysis. To me 
it has brought back not only the sensations of the visual nerves, but 
also the associated sensations of the other senses — more especially the 
sounds of weltering, seething, hissing, whispering waters, in wild liquid 
torment fleeing from the screw. Churned into a tracery of milky 
foam, making momentary patterns of lace-work, swirling upon 
a changeful ground of pale green, transparent and lustrous, it dies 
away in gradations of intense blue and purple as the turmoil recedes 
imperceptibly and merges with the dark tones of the huge waves afar 
against the corrugated horizon. Once more upon the unsteady deck 
one stands and looks, holding the breath while the ship sweeps down 
the long slope of a monstrous Atlantic billow, leaving its sinuous track 
boiling across that watery ridge, only to rise slowly to the crest of the 
next wave. 

In "Mid-Ocean" Woodbury made the first of a series of works 
in which his chief purpose has been to give expression to the idea 
of force. He got his impression as he could, using form merely 
as the incident of the motive, and bringing his facts into organic order 
and correlation; then he resumed the whole thing, composing it, until 
it stood as a typical expression of a fine phenomenon. Truth, fact, 


reality — these were present, but there was also a beyond in which the 
imagination could roam; the thought of the observer was not impris- 
oned this side of the horizon. So, to resume, the artist began by being 
a skillful and light-handed performer; then came a period of drudgery 
and severe training; Anally he evolved from experience a working 
philosophy of art through which he could express himself. 

There is something for the imagination to feed upon in all pictures 
that are pictures. The rest are studies. A valuable feature of every 
appeal to the imagination is the policy of seizing the stage of an 


event which just precedes the climax, leaving something more to come, 
on the familiar principle of the serial tale whose chapters always end 
at a juncture when something of interest is impending. Nothing 
is more essential to a painter in his choice of motives than the selec- 
tion of an event, a circumstance, an action, a scene of typical charac- 
ter; so only can he put before us something higher than a mere 
isolated fact, a mere study of a place, a mere item. The meaning 
of inanimate nature is what -we make it, but we can make nothing 
of permanent worth out of unrelated fragments. To be of enduring 
interest in art, our work must have something of the universal, which 


is historical, legendary, and symbolical at the same time. To exem- 
plify, after a manner, how this theory may be applied even to land- 
scape painting, I cite Woodbury's later works, which have the atmos- 
phere of history, tradition, and romance. Something has happened, 
is happening, will happen in the localities that he represents. The 
world is never asleep; the wind, in Wordsworth's quaint phrase, "will 
be blowing at all hours." William Howe Downes. 


There are few faults discoverable in human nature which the world 
at large does not impute to that unfortunate class of persons known 
as artists. One of the charges most frequently made against them, 
and most unhesitatingly accepted, is that of self-conceit. The average 
artist of to-day is regarded by the average layman as a self-satisfied 
and narrow-minded creature, who establishes himself on the pedestal 
of his own opinions, will listen to suggestions from nobody, and 
enters into argument with others only to assert his own superiority. 
Some good people go so far as to affirm that the trivial vanity of the 
present generation of painters is the cause of what they call the modern 
deterioration of art. Even Whistler, that acknowledged master whom 
many rank with the very highest, they denounce as incapable of pro- 
ducing work which is truly great, because, forsooth, he is sadly lacking 
in humility. They never we?ry of comparing the greatness of the 
past with the littleness of the present, and exhorting artists of to-day 
to turn to those of yesterday for examples of that humble reverence 
whose expression transforms a mere picture into a work of art. 
"Look at Millet!" they exclaim; "here is an artist truly great because 

And we do indeed look in wonder and bow down in admiration 
before this man who kept through life the simplicity and sincerity of 
childhood, whom powerful influence could not pervert, whom scorn 
and suffering could not crush, whom praise at last could not spoil. 
Yet faith in the power God had given him to do his work, that very 
quality which armed him with such unyielding strength, is only too 
frequently mistaken for self-conceit. Millet himself, in spite of his 
retiring disposition, was denounced during his lifetime as pretentious, 
stiff-necked, and obstinate. 

The public seldom calls by its right name that true humility of the 
genuine artist which consists in reverence for art. This reverence for 
art includes reverence for nature, and shows itself in earnest, never- 
ending study of nature's changing forms. From one who feels this 
reverence, no affectation of humility can disguise the conceit of that 
false artist who imagines himself capable of expressing art's message 


without schooling himself in the language which she speaks. Such 
conceit as this is surpassed only by that of the careless critic who, 
ignorant of the first principles of art, does not hesitate to pronounce 
upon the work of those who have spent their lives in her service. 

Yet, however humble art's loyal servant may be in his devotion 
to her, he may lack that fineness of fiber which shrinks from publicity; 
and it is not strange that he should sometimes take what means he can 
to make others believe in his worthiness. Indeed, as we read the sad 
lives of many of those who have made the history of art, we cannot 
but wish that some who were born with eyes to see, with the brain 
to select, combine, and create, with the hand to record, might have 
been born also with a lusty pair of lungs and the power to make good 
use of them. If the despised and neglected Prudhon could have 
lifted up his head and stalked abroad and cried with a loud voice, 
''Behold! I am great," perchance he might have won appreciation 
sooner, have found free outlet for his joyous nature, instead of being 
starved in misery, and have left behind him treasures far more 

There are indeed some who do great work which the world is 
eager to applaud, yet it is not often that flattery bestows her attention 
upon art's favorites. Titian, the pride of the Venetians; Rubens, the 
life-long pet of fortune; Velasquez, the companion of kings; Sargent, 
the wonder of both the knowing and the ignorant — such names as 
these, and there are none too many, make us glad to recall that even 
the children of genius may win worldly happiness. 

But he whose generation is not prepared to welcome him must 
needs be made of stern stuff if he would keep his work from becoming 
a weak compromise between what he demands of himself and what 
others demand of him. He must stand like a rock when the storm 
beats upon his head, and if, like a rock, he becomes hard and cold, 
who shall dare to blame him? There is but a step from self-respect 
to pride, and he whom all condemn may find comfort in the belief 
that he is wiser than all. 

If, however, the artist is condemned only by those who, never 
having trained themselves to observe the appearances of nature, are 
wanting in the foundation for the understanding of art; if, on the 
other hand, he has won sympathy and appreciation from his fellow- 
craftsmen (which every painter knows is the richest reward that can 
be offered to him); if, in addition to this, his keen and critical eye 
perceives the superficiality of those whom his condemners delight to 
honor, it is small wonder that he should wrap himself in the mantle 
of contempt for the public, and resolve to work only for those 
he believes worth working for. His contempt, which is mistaken for 
conceit, may become his safeguard. In painting, as in all else, the 
fable of the old man, his son, and the ass aptly illustrates the folly 
of those who attempt to please everybody. 


One sees on all sides the wreck of rich talent in men who have 
deliberately turned themselves into picture-selling, money-making - , 
popularity-winning machines, even when the pot-boiler has ceased 
to be a necessity with them. They have been "humble-minded" 
enough to value the opinion of the public rather than their own, but 
have not possessed sufficient genuine humility to refrain from degrad- 
ing art. 

From men like these one turns with relief even to the arrogant 
and aggressive Courbet, losing no opportunity to force his opinions 
down the throats of the people, roughly overturning the standards 
of predecessors and contemporaries and proclaiming himself greater 
than all, earnestly and incessantly toiling with all his strength to do 
what in him lay, and then striding forth to advertise the sound fruits 
of his toil as a circus manager might advertise his show. Haply, 
Courbet believed his reckless boasts — or came to believe them 
through constant repetition — yet he knew, as Whistler knows, that 
one must demand much in this world to be accorded little, and that 
those who cannot judge are prone to take a man at his own valuation. 
Even the giant Courbet groaned at last in despair, "They are baiting 
me to death; I can do no more. To work one must have peace 
of spirit." 

"To work one must have peace of spirit." If these words are 
true, we may well be thankful when the artist has attained the peace 
of spirit which comes through faith in God's great gift to him, even 
though the flame of that faith be fanned by the wind of opposition 
into the fire of self-conceit. Cornelia E. Green. 



In the advance which artistic handicraft has made throughout the 
country the art of pottery has played a conspicuous part. The ready 
adaptability of clay to artistic use, the beauty and permanency 
of vitreous color, and the satis- 
factory completeness of the re- 
sult, make pottery a subject of 
most tempting promise to the 
artist. It seems possible in this 
craft, in which no one comes 
between the artist and his com- 
pleted work, to achieve a more 
individual and thorough ex- 
pression of his idea than in 
many crafts in which the design 
is alt he is called upon to furnish. 
The much prized individual 
touch, seen only when the ma- 
chine is absent, the unity of pur- 
vewcomb pottery pose exhibited from inception 
to finish where the designer is 
also the workman who carries the idea to its completion, is shown 
more frequently in pottery than perhaps in most other handicrafts. 
These thoughts can, of course, only be suggested in those studio 
workshops in which commercial bulk of output is not the first aim. 
The main current of industrial production must doubtless always 
be otherwise, but a number of American pottery manufacturers 




have achieved success while holding art as their guiding principle. 
Rookwood, Dedham, Gruby, and many others are celebrated, each 
in its own way, for peculiar excellence of design and color which 
give to their productions universal value and interest. 

Perhaps the youngest of the group of American art potteries is the 
Newcomb, the subject of this notice. It is the outgrowth of peculiar 
circumstances, having had its origin in the uncommercial atmosphere 
of the art department of a college for women in New Orleans. The 
desire and teaching of the school was to show that art may fitly 
be expressed in the design of objects of common use as well as in the 
painting of pictures. Gradually the idea of a studio-workshop evolved 
which should be a means of furnishing profitable employment of the 


freest and most individual character to those fitted for and desirous 
of pursuing art as a means of livelihood. The enterprise, directed as 
it is toward developing indigenous qualities, deals solely with material 
at hand. The clay is quarried in neighboring territory. The sub- 
jects of design are drawn from familiar surroundings. From the 
careful fostering of this idea of locality has sprung a characteristic 
product of genuine value. The industry has by no means attained the 
full stature of its possibilities, but its character is mature, and the col- 
lector may discern at a glance the personal note. 

The dominant color is greenish blue, although red, yellow, and 
black are often present. 

Underglaze decoration, either in slip upon wet clay or upon the 
biscuit, is the rule, but design sometimes ends with the form, the 


color being supplied in the glaze, which is varied and blended 
by the heat of the furnace. 

The optimist for American art sees in such application of art to 
industry a future of increasing worth and dignity for its unwritten 


The exhibition of the American Water-Color Society was held this 
year in the smaller ballroom of the Waldorf-Astoria Hotel. It was 
an unfortunate selection, for the room did not lend itself to a display 
of pictures and the space was cramped. As a consequence of the 
small quarters only a modest number of works by outsiders was 
accepted, and the show was by no means up to the average of previous 
years. The archaic custom of rights of membership permitting soci- 
etaires to send six works without examination of the jury worked 
the usual damage, and old-timers whose only claim to membership 
was good-fellowship, whose art was never worthy, and who have fallen 
by the wayside with the years, were in the usual evidence with many 
examples that gave a dreary aspect to the walls. 

The Evans prize was awarded to B. West Clinedinst, a dexterous 
handler of his medium, for a picture ("Long Ago") of an old man 
and child. With due respect for the excellence of this work and the 
reputation of Mr. Clinedinst, who is known as an able illustrator, there 
were other works that came much nearer the standards usually set for 
prize-winning pictures. Louis Loeb, with a rarely beautiful head 
of a young woman, Rosina Emmet Sherwood; Albert Sterner, with 
a charming figure of a woman in an artistic interior; Arthur 1. Keller, 
with a novel composition of two girls in a library, clever to a degree 


and delightful in color, and Mr. Blumenschein, with an Indian picture, 
were all generally considered to have had more of the qualities of art 
and seriousness in their drawings and to have more deserved the award. 
The attendance was fairly large, and the sales mildly satisfactory. 
There have been attempts made from time to time to reorganize this 
old society and to inject some modern notions, so that the exhibitions 
shall depart from the conventional, but without much success. Last 
season several heated meetings were held, and a compromise was 
made in selecting a larger jury. The main fault, however, lies in the 
privileges of the members themselves. When many of these incom- 
petents are permitted to send six works, which must be hung, it will 
be seen that the display is doomed in advance, and when the show 
is a small one, as was the case this year, these indifferent drawings 
become all the more conspicuous. 

The Architectural League exhibition improves each season, and 
if there be any criticism it is that the jury is too catholic in permitting 
exhibits of various kinds, many of which cannot by any stretch 
of the conscience be properly classified among decorations for the 
house or public building. For example, it is difficult to see just how 
book-covers, posters, and designs for music pages can be included 
in an architectural display. The result is that the show reaches such 
proportions the visitor is unable to get more than a vague idea 
of it in one visit. This year there were less stained-glass designs and 
not so many decorative panels as usual, but the architects sent more 
attractive drawings and plans than previously, and the public found 
much to interest them in the beautiful models of buildings made 
in plaster, the drawings for the great California University, and the 
many new private and public structures that are to be erected. Robert 
Blum's original sketches for the decoration of the frieze of the Men- 
delssohn Music Hall attracted much attention for their grace and 
charm of color, line, and invention. Andrew Carnegie's new house 
on Fifth Avenue, the new Custom House for New York, the Depart- 
ment of Justice at Washington, and the additions to the New York 
Stock Exchange were among the prominent designs shown. 

The mutations of popular taste in art were shown in the sale of the 
collection of pictures belonging to the late Judge Henry Hilton, hung 
at the American Art Galleries and sold later at Chickering Hall. 
Judge Hilton, it will be remembered, was the lifelong friend and 
legal adviser of the late A. T. Stewart, the famous millionaire dry- 
goods merchant. His pictures and bric-et-brac were collected about 
the same time with those of his friend, and many of them came from 
Mr. Stewart's gallery, being bought at his death. They were of the 
then fashionable surface kind, with the story-telling incident, the 
clever manipulation of pigment and dexterous drawing. Frenchmen, 


Italians, and Spaniards were the mainstays, with a sprinkling of Ger- 
mans, and at the time they were the best and most expensive the 
dealers 1 shops afforded. A few really good things were included, 
however, and the exhibition and sale were attended with considerable 
interest. An important Meissonier, which cost the owner $24,000, 
went for Si 8,000, and all the others showed a falling off, though they 
brought more than the most conservative prophet had supposed they 
would sell for. But a glance at the gallery seemed to take one out 
of the world of to-day and go back a score of years. There were 
pictures in the costumes of the sixties, with the weird hats, dresses, 
and furbelows of the women, the curious stovepipes and coats of the 
men, and the customs and manners of a quaint period when the 
Grecian bend was the thing for the female and croquet the game par 

Elihu Vedder, just back from his studio in Rome, held an exhibi- 
tion at the gallery of S. P. Avery, where he showed several works 
in oil, water-color, drawings and studies, bas-reliefs, and statuary. 
There was little new to chronicle, save in the examples of modeling, 
but even here he revamped familiar themes, and in giving a touch 
of color, recalled his well-known tonal effects of somewhat dark and 
leaden pigment. However, all that Mr. Vedder does is worthy 
of serious consideration, and the various studies for decoration, for 
illustration, and genre work were full of intellectual qualities, well 
drawn and ably composed. In a decorative and allegorical way, 
though, the man is much the best, for then he has generally something 
of greater interest to say, and if his manner is easily recognizable, at 
least his utterances are well put and always with considerable dignity. 

Several one-man exhibitions have taken place, notably some por- 
trait work by Harry Siddons Mowbray, at Knoedler's gallery, where 
were shown several small panels of great detail and good color; Carroll 
Beckwith showed many drawings, touched up in color, with a pastel 
or two, at the Wunderlich gallery, and Everett Shinn a number 
of illustrations and compositions at the galleries of Boussod, Valadon 
& Co. Mr. Shinn shows the unmistakable influence of Raffaelli 
all through his drawings, both in color and line, and naturally the 
work is just that much the weaker, for holding to the mannerisms 
of the Frenchman, he has completely sunk his individuality. This 
is always a pity, and it seems to us quite unnecessary. A man cannot 
thus imitate another and hope to take a foremost position; with 
so much natural endowment, Mr. Shinn might easily occupy a field 
quite his own. 

A memorial exhibition of the work of the late John Leslie Breck 
was held at the gallery of the National Arts Club, in West Thirty- 


fourth Street, where half a hundred sketches and pictures were seen. 
Mr. Breck's lamentable death a year ago cut short a promising career, 
as these works show. His sketches made in Giverny were of course 
seriously dominated by the work of Monet, and those done away from 
this influence, where the young man let his own personality come 
to the front, were much the best. Some pictures made in Venice 
showed an appreciation of beautiful color, and were wrought out with 
much charm, while others made in New England gave a personal 
view of his native land quite refreshing. With the start and the 
promise apparent in the exhibited canvases, it is quite evident 
Mr. Breck, had he lived, would have gone far in a landscape way. 
Another impressionistic painter whose work bears the influence of the 
Giverny school is Theodore E. Butler, an American, and a son-in- 
law of the great French painter, Monet. Mr. Butler showed fifty 
canvases at the galleries of Durand-Ruel, and demonstrated that for 
impressionism pure and simple he was the most advanced of his coun- 
trymen, though in the end it is doubtful if he has not entirely spoiled 
a fine career. These pictures out-Moneted Monet; there was 
no attempt to do aught but blindly follow the master, and at the same 
time add even more spottiness and cruder color. It seems incredible 
to the average spectator that a man could deliberately sit down in cold 
blood and paint pictures so unmistakably in the fashion of another 
man, and who could be content to utterly lose his individuality 
in copying the mannerism of another painter. Yet this is what 
Mr. Butler* has done with appalling fearlessness. There are some 
sketches done in America, of the harbor of New York, the Brooklyn 
bridge, and other well-known localities. If they look to Mr. Butler 
as he has painted them, it can only be said that the vision of the rest 
of humanity is abnormal, and happily so, for as the artist represents 
them they are far from being attractive. 

It is refreshing to turn from these remarkable things to an exhibi- 
tion of the work of Thomas W. Dewing, held at the Montross gallery, 
where thirty works were seen, covering a considerable period of years, 
and showing a steady, healthy progress. The lovely portrait of Mrs. 
Stanford White, the "Girl at the Piano," the various decorative panels 
and small portraits, full of detail, yet kept broad, exquisite in color, 
and daintily drawn, are all works to be recalled with keen pleasure, 
and are artistic to a degree. Mr. Dewing's art is distinguished; 
he gives to his lightest touch a grace and a personality that are irre- 
sistible, and to all there is the decorative spirit unusually developed. 
The pictures came from various owners about the country, and repre- 
sented the best of the life-work of the man up to the present time. 

Two important portraits by John S. Sargent, destined for the 
Harvard Club, were seen at the gallery of M. Knoedler & Co., and 


were respectively of the Minister to England, Joseph H. Choate, and 
James C. Carter. Both were exceedingly able, the latter being more 
satisfactory, if less showy. To the likeness of Mr. Choate there was 
an unfortunate expression to the mouth, which had a droop not of the 
happiest, though otherwise there was the dash Sargent gives to all 
he does. Mr. Carter's portrait, in its quiet, refined color, simple 
modeling, and astonishingly direct workmanship, showed the Ameri- 
can Royal Academician at his best ; and if it did not quite approach the 
distinction of the famous Wertheimer portrait, it must be remembered 
that an artist cannot keep himself at concert pitch always. But 
Mr. Sargent's art has matured and developed in a remarkable way, 
until he must be acknowledged to-day as quite without a superior 
among the portraitists of the world, and indeed he is already entitled 
to a place with the greatest of the painters of all time. We are per- 
haps a little too near to get a proper perspective on him, but with 
time he will surely get his due, and receive that unqualified approba- 
tion which a living man rarely, if ever, obtains. 


Since the time of Durand, who 
lived and painted portraits in An- 
napolis prior to 1 759, miniatures 
have held a conspicuous place of 
estimation in American art. Scarce- 
ly a Colonial" family of any impor- 
tance passed without leaving one or 
more of these precious heirlooms in 
portraiture which have more than 
kept green the memory of such art- 
ists as the Peales, Trumbull, Stuart, 
West, and Copley; and while all 
other branches of the arts have re- 
ceived much encouragement, and 
have been duly fostered by strong 
organizations such as the National 
Academy, American miniaturists 
have struggled along up to now 
without sufficient recognition either 
at home or abroad. Feeling the 
need of an appreciation which such a society might be supposed 
to command, the American Society of Miniature Painters was 
instituted in March, 1899, by William J. Baer, Alice Beckington, 



Lydia Field Emmet, Lucia Fairchild Fuller, Laura Coombs Hills, 
Isaac A. Josephi, John A. MacDougall, Theodora W. Thayer, Virginia 
Reynolds, and William J. Whittemore, in New York City. Naturally 
it was believed that an annual salon should be held, where the work 
of all American miniaturists, passed by a competent jury, might 
become known to the public; and thus the first annual exhibition of 
this young society was brought about in January of this year in the 
new galleries of Messrs. M. 
Knoedler & Company, New 
York City. 

Mr. Josephi is accredited 
with the conception of the 
society, of which he is the 
first president, although he 
met with much opposition in 
his tenacious efforts to effect 
an organization, even among 
the very miniaturists who 
finally became charter mem- 
bers, because some of these 
same artists could not be 
convinced for a long time 
that there was any real need 
of an American society of 
miniaturists, and they felt 
quite equal to holding their 
own. However, when the 
full scope of the project was 
brought to their comprehen- 
sion they could not fail to 
realize the benefits to be de- 
rived from their cooperation, 
benefits affecting the future 
as well as the present state 
painters of appreciation of the minia- 

ture as a work of art Per- 
haps Mr. Baer, the first secretary of the society, held out the longest; 
but finally he became a member, and entered into the work of the 
society with a fervor characteristic of his undertakings. Indeed, 
much of the "logical" success of the exhibition was due to his per- 
sonal efforts. 

First of all, a blessing should rest upon the heads of the members 
of the hanging committee, who put everything on the line — nor did 
they do it to keep the peace! The spacious exhibition- room was 
large enough to permit such an arrangement, but not so large as to 
make one feel that he had come to a haystack to look for a needle or 


two. No one seems to know why no catalogue followed the elaborate 
prospectus and application blanks, and those persons who "souvenir" 
in and out of Fifth Avenue galleries found nothing but impressions to 
take away with them; but they must have been grateful, for these im- 
pressions could not have been other than most agreeable, as this ex- 
hibition was excel- 
lent and well worth 
the while. There 
was but one posi- 
tively distressing 
thing to be seen — 
and here one is 
saved, by lack of 
having a catalogue, 
to chronicle it pre- 
cisely; yet it is not 
uncharitable to say 
that it was a por- 
trait of a lady, prob- 
ably by her sister, 
and it hung on the 
east wall near H. V, 
Swope's "Girl in 
Pink." This latter 
miniature was de- 
lightfully fresh in its 
handling and quite 
away from the con- 
ventional. Helen 
Kirch ner's attempts 
in this direction had 
absolute merit, but 
they showed too 
much sketchiness — 
that is, a sketchi- 
ness which showed 
a lack of develop- 
ment. On the other 
hand, Mr. Josephi exhibited two miniatures, one of a man in sitting 
posture and the other a portrait head, which were quite as pleasing 
as anything else he had to show, although they were designated 
"sketches." Mr. Josephi's "Portrait of a Lady" was the object as 
well as the subject of much controversy. This certainly did look very 
much like a fashion-plate, well drawn, of course; and some miniaturists 
insisted that it was by far too modern for their art's limitations, while 
others insisted that their art had no limitations. Both sides seem to 


be wrong, and one suggests in all friendliness that the art of the 
miniaturist is greatest in portraiture; wherefore promiscuous ladies, 
lacking identity though attired in the mode, do not constitute inter- 
esting enough subjects to make themselves great in art. Even the 
greatest painters are wary of them. Mr. Josephi spent much time and 
study in a group called "The Letter." Here we have a picture on 
ivory, and as such it is unusual; but we should always forget ivory, 
and when we do in this instance, it leaves nothing remarkable to us. 
Mr. Josephi's enthusiastic liberalism is commendable, of course, but 

more so in its theory than in the practice of it which he has put forth. 
Nevertheless, his miniatures please the multitude. Miss Beckington's 
work reveals a feeling for the impressionistic, and a charming applica- 
tion of it, as in the portraits of Mr. Richard Hovey and Mr. Bliss 
Carman, which are handled in a brilliant manner, although they lack 
that which the knowledge of the apparent source of their inspiration 
gives them. Next to these, Miss Beckington's portrait of Mrs. 
Buford is to be noted. It is the best example of this artist's work, 
all considered. Mrs. Reynolds, the only exhibitor from Chicago, had 
an excellent picture, "The Smoker," very strong in its qualities; and 





Carl Weidner's "gray dawn" portrait effects and his portrait of Mrs. 
Weidner are about the best miniatures he has executed. The minia- 
tures of John Lucas were remarkable in their sprightliness. The 
"Head of a Boy," by A. Klots, was especially good, and Mr. Mac- 
Dougall showed some very creditable things. 

The work of Mr. Baer is so widely known that a great deal of 
interest immediately centered on the wall where his miniatures were 
hung. Their even excellence is the outcome of Mr. Baer's academic 
ideas on the subject of miniatures, and his flesh tints are exquisite. 

The color of every one of his miniatures is in accord; and those artists 
who storm at "the photographic minuteness" in any miniaturist's 
manner may well look upon Mr. Baer's miniatures and be silenced, 
Perhaps his conservatism may appear extreme to the carelessly 
enthusiastic ones, yet the healthful beauty and vigor of it all is more 
than merely commendable. 

"The Burgomeister," by Mr. Whittemore, had much strength and 
a wonderful color. It was most happily framed in an old scrolle 
which Mr. Whittemore picked up in Sienna, and this is mentioned as 
showing the importance of having miniatures properly framed, a thing 


which cannot be said to have been universally borne in mind at this 
salon — indeed, some of Mr. Josephi's miniatures were "killed" by 
their careless and crude mountings. 

One turns with delight to the contemplation of any works depict- 
ing childhood. None of us have forgotten our days in the golden 
age, and Miss Emmet constantly brings back to us the most delight- 
ful memories of girlhood and of boyhood and of babyhood in her 
wonderful miniatures. Miss Emmet's color is exquisite, and her 
daring but positive use of vermilion is unusual. Nearly every one 
of her miniatures might be called a flower of portraiture, for these 


dainty things suggest gardens of lilies and lilacs. Miss Thayer shows 
a wee miniature of a wee speck of humanity, a baby's head painted 
in a cloud of sweet mist, as it were; and her other miniatures are 

Mrs. Fuller's achievements are achievements, and there could not 
be a more charming portrait of a boy than the one exhibited, which 
was splendidly painted, soft and rich in color, and of a simplicity equal 
to a drawing by Boutet de Monvel, withal of greater depth. It seems 
quite in place here to mention the fact that this miniature has the 
double success of being not only a good picture, but as well a good 
likeness, two qualities which bring portraiture to perfection. 


And now one comes to the three miniatures which were the 
greatest things of the exhibition — for miniatures can be great: large 
portrait of an auburn-haired lady in gray ("Fire Opal," I am told, is 
the title of this ivory painting), "Study of a Head," and the "Por- 
trait of Master Donald Moffat." Taking everything into considera- 
tion, one has the right to say that this last miniature (all were 
by Miss Hills) was the chef d'ceuvre of the exhibition. The "Fire 

Opal" was quite as good in its way, but not so unique, although it 
was really a marvel in the art, while the "Study of a Head," with 
the stunning red bow, held every one's admiration. 

When one comes to discuss such an exhibition by contemporaries, 
it will be seen that all historical allusion is useless and the anecdotal 
is denied. Nevertheless, this is written to bring the attention of 
miniaturists and collectors to the first exhibition of the sort that has 
ever been held in America. Gardner C. Teall. 


Mr. Svend Svendsen was born in Christiania, Norway, in 1865, and 
has for a number of years made his home in Chicago. Several trips 
to Norway have furnished him opportunities for painting the winter 
beauties of his native land, and these pictures have made up most 
of his annual exhibitions, which he has held in Thurber's galleries, 
in Chicago. His work is original, bold, and effective, the prevailing 
characterstics being the sunset glow on the snow and trees, with long 


purple shadows. His exhibition, which was held in March, shows 
other motives painted in a manner which demonstrates a broadening 
choice of subject and more maturity of style. 

Mr. Svendsen improves with each annual showing, and his pictures 
are finding permanent places in good collections, both public and 
private. His work has received many honors in the West, and 
is becoming more and more popular, with artists as well as the public. 
His recent exhibition included some twenty canvases; "The Glare 
of the Camp-Fire" was one of the best, showing simply the ruddy 
light losing itself in the gloom of the forest. 




It is said that iron is the key to the building situation, that iron 
first shows the demand for building material. 

On the artistic side of building, glass is the key. In the early 
stages of a vital style it shows a purity of purpose and simplicity of 
scheme far ahead of the baser materials. Its ease of manipulation 
gives it the advantage of being seized upon by a mind seeking a means 
of expression, while color and brilliancy attract attention to its pos- 
sibilities as a medium for original thought. 


On the other hand, it is the first to feel 
the degeneracy of a style. Its necessarily 
pronounced drawing, the outlining of its 
parts, shows at once careless draughts- 
manship, and the brilliant contrasts in 
color become crude and grotesque when 
serious thought forsakes it. 

Nothing shows the level reached by 
architecture to-day so surely as the "art 
glass" (horrid adjective!), which, imitating 
every form ever made in stone, wood, or 
metal, stares us out of countenance. Con- 
sider the logic which causes an architect 
to put saints and angels with impossible 
heads and limbs in the windows of his 
Romanesque church because he thinks that 
he must imitate the work of a semi-savage 
who did not know how to draw. The 
mediaeval designer did the best he could, 
and it was all his. 

No material placed in a building is of 
greater importance. From the exterior we look for the openings, for 
from them we get the expression of the building, exactly as looking 
at a face we seek at once the eye. From the interior, instinct draws 



our eyes toward the openings; we see the windows first, and the light 
constantly brings us back when we turn away. 

The new movement in London, Munich, and Chicago — I say Chi- . 
cago, for if other cities in the United States have any movement their 
catalogues and architectural journals do not advise us of it — finds its 



greatest expression in its glass. The 
spontaneity and honesty of growth of 
the movement is assured by the ab- 
solute difference of the schools — as 
different as the people who inhabit 
the cities, as different as one face 
from another. Of foreign architec- 
ture we are not treating, but in Chi- 
cago much has been done. 

Owing to limited space, as well 
as the difficulty of photographing and 
reproducing glass, a few examples 
must suffice. They show great variety 
in treatment, from almost natural 
forms to conventionalization so severe 
that the original form is lost and only 
the character remains. In some 
cases no especial form produced the 
motive, but only a type of form, or 
perhaps a feeling of growth without 
the semblance of natural forms. Glass 
lends itself charmingly to this last 
thought; the extremely brittle, crys- 
tal character of the material cries out 
against naturalism and leads one to 
sharp and severe outline. One of 
the characteristics of the school is 
the desire to produce a decorative 
effect without the aid of light passing 
through the window. In our mode 
of life much of our time is spent at 
home in the evening, when the or- 
dinary stained-glass window looks 
dead and uninteresting. Very dec- 
orative effects are obtained by means 
of gold and opaque glass in black 
and white. These are used in small 
pieces in such a manner that as dark 
spots they enhance rather than de- 
stroy the value of the window by 
day. In some a rich effect is ob- 
tained by burning gold on the sur- 
face of clear glass. By night this has the appearance of solid gold, 
while by day the gold, being deposited in minute particles, lets the 
light through, giving a soft, purple-gray tone. By burning on colored 
glass any desired tone may be obtained. This work is only in its, 




infancy, but bids fair to de- 
velop into very good re- 

The photographs shown 
are taken directly from the 
windows, isochromatic 
plates and a ray filter hav- 
ing been used, so that, al- 
though the colors are not 
given, the color values are 
fairly good. In all, the 
color scheme is very sim- 
ple, the desire being to give 
a decorative effect. In 
some cases no stained glass 
is used, the window being 
of clear glass, picked out with gold and white. The tendency of the 
school seems to lie in this direction of simplicity, and we may hope 



for results which will remove the prejudice against this glorious 
material — a prejudice brought about by its degeneracy. 

George R. Dean. 

^1 - H 1 1 ■ f ■ ■ 1 •. 



The Art and Literature Department of the Woman's Club decided, 
some time since, to undertake as its permanent work such effort 
toward the beautification of Chicago as seemed from time to time 
possible and practicable. 

As a first step in this direction, it availed itself of the opportunity 
offered by the Architectural Club in a recent competition. 

In this competition a prize was offered for the most acceptable 
design for the embellishment of the small triangular park bounded 
by North State and Rush Streets, opposite Bellevue Place. 

The design submitted by Mr. Birch Burdette Long, and shown 
in the accompanying illustration, was accepted by the department, the 
originality of the design and its freedom from unrelated precedent 
especially recommending it to the committee. 

The cooperation of the city in planting and maintaining such 
shrubs, trees, and vines as are necessary to the completion of the idea 
has been secured, and it is the intention to start the work of construc- 
tion soon. 

It is the belief of the Woman's Club that the success of this 


initial effort toward the establishment and maintenance of beautiful 
small parks will be but the first step toward similar work in more 
densely populated districts, and that it will furnish an inspiring object- 
lesson and a precedent for further accomplishment along such lines. 

To make a charming garden spot surrounding the well-designed 
shelter, and to accomplish this end for a comparatively small sum, 
will be evidence to every passer-by of the feasibility and great desir- 
ability of more such oases in the civic desert. It is this greater 
object that the Woman's Club hopes to reach by means of this first 
experiment, and the generous response of the Architectural Club 
in placing the results of the competition at its disposal is heartily 

It is hoped, in addition to the inspiration toward further effort 
of this kind which this venture will afford, that it may also establish 
a precedent for cooperation between different societies which shall 
result in further benefit to the public. The study of concrete civic 
problems and the effort toward their solution by such societies as the 
Architectural Club gives much hope and promise for better things 
in the future history of Chicago. Lucy Fitch Perkins. 


Architecture, more than any other art, may reflect the changing 
and growing requirements of a people. The effort for social service 
known as the settlement movement is an expression of a need which 
has sprung into our civilization within the last fifteen or twenty 
years. We show the architectural expression of this need by illustrat- 
ing the buildings of Hull House, University of Chicago Settlement, 

the Chicago Commons, the Northwestern University Settlement, and 
the David Swing Memorial. 

The settlement movement is generally understood without being 
closely denned, and its aims and purposes are best met when least 
emphasis is placed upon its institutional aspect. 

The housing of the various activities of these social centers pre- 
sents to the architect a problem in the solution of which precedent 
can play but a small part. 

The requirements are varied, and belong neither to individuals nor 
to a class, but include the social and educational well-being of all the 
people in the community. 

Its demands are preeminently democratic and genuine, as con- 



trasted with the luxury and whims which may find expression in other 
kinds of building. In addition to such variety of requirements 
as follow when the plans must include dwelling-places with complete 
equipment, gymnasia, class-rooms, and even theaters, the means are 
invariably limited. In this religious movement no money is put into 
the embellishment of an architectural monument to stand through the 
ages. The building is frankly and simply a means to a social end. 
Its very limitations and the newness of the problems presented make 
the settlement buildings more closely expressive of the life of the 

present than— for instance, the church edifice, with its ecclesiastical 
architecture handed down from previous ages. There is no precedent 
to govern their architectural expression — these buildings must 
be designed as a direct response to definite needs. This, we believe, 
has ever been the starting-point of good architecture. 

Of the settlements illustrated, none is complete, and two have not 
yet been started. They are in various stages of completion and 
equipment. Other centers are moving in the same lines, and it is the 
hope of the Architectural Club to show in its Annual for 1901 the 
additions and changes to these centers executed between now and 
then, as well as those that are not represented at this time. 



For an architect there is no better way of spending the summer 
holiday than a-wheel in a prosperous farming country, seeking inter- 
esting examples of a domestic architecture in the rough. He must 
expect little and be content to find his pleasure chiefly in the enjoy- 
ment of woods and fields, for the average farmstead adds but a doubt- 
ful charm to the landscape. Often, indeed, a near view will show 
a habitation so brutally bald, ugly, forbidding, and neglected, in the 
midst of such dismally and repellent surroundings that it may be said 
of our own benighted heathen, still deaf to the gospel of beauty, that 
they live in a land "where every prospect pleases, and only man 
is vile." 

Amid the freshness and beauty of the fair open country one cheer- 
less or unsightly house seems, by contrast, more discreditable 
to a highly civilized and progressive race than a whole row of them 
in the city. But when in some rise or turn of road a picturesque and 
homelike farmstead greets the eye, a grateful picture sinks into the 
beholder's memory, not soon to be effaced. Unspoiled by the crude 
latter-day vagaries of the village carpenter or the blighting influence 
of the ready-made plan of commerce, house, barns, windmills, and 
outbuildings are sometimes found happily placed as to site, and built 
in seemingly haphazard yet sturdy and purposeful fashion, with wings, 
perhaps, and other supplementary structures of later build for growing 
needs. Enhancing the charm of such a home, one is likely to find 
a broad sweep of green between the house and road, well-kept hedge- 
rows separating lawn from orchard, orchard from field, and garden 
from both, and tall trees, the last of a race of forest giants, towering 
above roofs and chimneys, while flowering vines reach to eaves and 
droop again in waving streamers. 




Upon studying such a type as this, found oftenest in New England, 
where the sober traditions of colonial work still have a strong hold 
upon the country builder, it will be seen that for the architect familiar 
with all the cunning tricks of nice planning and in sympathy with 
farm life an excellent beginning has already been made for one of his 
ideal good farmhouses. 

In northern New England, and here and there in the West where 
New Englanders have settled, the typical farmhouse is a long, ram- 
bling structure, with the sacred "parlor" and guest-room at one end 
and the barn and workshop at the other. In northern regions, where 
old-fashioned winters with deep drifting snows still reign, the conven- 
ience and comfort of this type are obvious. Of course, a separate 
and larger barn for stock is usually required, although examples may 
be seen, where, through various sheds, a house is united with a great 
barn, large enough for all purposes. The accompanying plan for a 
northern farmhouse is designed to eliminate the most serious defects 
found in even the best of these buildings. These defects, some of 
which are due to perverted ways of living, are first, a connection 
between kitchen and barn inadequately shut off against odors; second, 
incomplete or inconvenient laundry, fuel, pantry, and other working 
arrangements; third, lack of bathroom and sanitary conveniences; 
fourth, and perhaps most serious of all, lack of a large, sunny, 
attractive living-room in place of the frigid, old-fashioned state 
parlor, held sacred to memorable occasions, such as weddings and 
funerals. One needed feature, seldom provided, is a roomy entry set 
apart for the male members of the household, in which they may 
remove dirty boots and overalls and clean themselves up properly 
before entering the kitchen or living-rooms. Often toilet and ward- 
robe conveniences may be provided in the laundry. 

In planning and placing a house in a sharply rolling country, such 
advantage of the site may usually be taken to provide easy and con- 
venient access to house and barn on two levels, giving an added charm 
and picturesqueness to its various aspects seldom found in the level 

The little field-stone farmhouse is another architect's ideal, having 
no existing prototype, but suggested by the desire to show the neg- 
lected but delightful possibilities of native materials, even in the hands 
of rude workmen, as applied to an arrangement for simple yet good 
and seemly living, with special provision for the enjoyment of al fresco 
repasts in the summer upon the vine-roofed terrace which juts out 
into a sharp slope overlooking a fair and fertile valley. Such homes 
as these are not beyond the means of many a farmer. It is to be 
hoped that a quickened desire for better housing and more beautiful 
surroundings will in good time bring the farmhouse builder into sym- 
pathetic touch with the true architect, who can and will give the 
smallest problem his largest thought to benefit his fellow-men, if not 
for gain. Robert C. Spencer, Jr. 


A common criticism is made of our exhibitions, local as well 
as national, that they are or may be good, but are not interesting. 
What is meant by this general statement? What makes an exhibition 
of art interesting? Do we understand by interesting the incidental, 
the anecdotal genre subjects that appeal to natural curiosity and love 
of clearly expressed details? Has our art swung so far to the other 
side of the story -telling, sermon-preaching Charybdis on the one hand 
to the Scylla of technique on the other hand? Shall we revert to the 
religious art of the early Italians, the sentimental art of England 
of fifty or more years ago, the American Hudson River school, 
or throwing this all to one side, accept the point of view of Whistler 
as an example of the modern school, and paint and enjoy for art's 
sake the aesthetic problems of beauty in tone, themes which, appealing 
through the eye, belong to the province of the purely pictorial? This 
is the modern battle-ground of art. The artists with a wonderful 
knowledge of the science of their art on the one hand are misunder- 
stood by the uninitiated on the other hand, who cry for incident, for 
story, for something with a point to it, for human interest, for heart 

I believe the public want beauty, and some few of them know 
what it is. Do our painters and sculptors create beauty, and do all 
of them know what it is? Is it because there is so little beauty in the 
world to-day that artists must be scientific in color and form, that 
they must give back to the hungry public stones because they have 
no bread? Much of our present-day art, for some reason, is not beau- 
tiful ; much of it is not even interesting. Perhaps the public is partly 
right. They are not interested in studio problems; they have a right 
to demand pictures. Art is life. The Lest records of a people are 
handed down to us through art expression. The inside of things 
should be painted and modeled as well as the outside. Ideas, not 
things, as we have said before, are what make any art great. The 
human family is one through bonds of universal sympathy, not 
through general scientific or intellectual thinking. Art is a universal 
language when it appeals to this universal sympathy. Great art 
always does this, and Tolstoi is right. St. Gaudens' masterly relief 
on the Colonel Shaw monument in Boston is a good illustration. His 
technique is magnificent, but with it he expresses the martyr's love 
for an oppressed race, patriotism and heroism, so clearly that all may 
read, admire, and be inspired. This monument is one of the grandest 
tributes to posterity our American civilization at the end of the nine- 
teenth century can boast. It rises to the plane of universal apprecia- 




tion. Such art is rare. There is nothing in painting or architecture 
of the same period to compare with it in importance. 

Many of our better painters, now occupied in mural decorating, 
are thrashing over the chaff of bygone days. The subjects they 
choose have no life in them. Shall we forever use Greek figures 
to typify law and order, when we have such grand examples of the 
.virtues and graces in the deeds of our own great men and women? 
No history is richer in inspiring events for poetry, painting, and sculp- 
ture than this greatest republic of modern times. The Colonial, the 
Revolutionary, the early American, the Civil War, our prairie con- 
quest, the unique problems of social life in city and country, our 
extraordinary commercial and industrial activity, all furnish new 
material. We are and have been establishing a kingdom where each 
is ruler and where all have rights. 

Is there nothing for art? Must our poets sing of the gods and 
heroes of the past? Must our sculptors follow the canons of Canova, 
who copied the Greeks? Must our architects keep on tracing the 
orders of Vignole, forgetting that we are not Romans, but Americans, 
with new uses for our buildings? Must our painters satisfy themselves 
in learning only how to paint, and paint only scientific problems? 

We have a gold mine of subject that is worthy the attention of our 
best-trained men in every line of art. It is vital material, and the 
public will not be slow to recognize it when it appears. Art for art's 
sake is not enough. Art for heart's sake will speak to the whole 
human race. 

Note. — We are indebted to the Chicago Architectural Club for the material on 
pages 37 to 48. The exhibition at the Art Institute of Chicago was of unusual in- 
terest and variety. It will be followed early in April by a Photographic Salon under 
the joint management of the Art Institute and the Chicago Society of Amateur 
Photographers. Mr. W. B. Dyer will have an illustrated paper on the new move- 
ment in the April issue of Brush and Pencil. 


The PERRY Pictures 



For 25 or more 
On Paper 5% x 8 inches 


The success of The Perry Pictures has led to their imitation by 
others. All who wish to obtain by far the best pictures are cautioned 
against purchasing other pictures, advertised as being as good as The 
Perry Pictures, with the thought that they are getting The Perry 
Pictures. Be sure that the name is upon every picture. Do not be 
deceived by catalogs and order sheets resembling ours, and copied 
largely therefrom. 

Sarah Louise Arnold, Supervisor of Schools, Boston, says : — 

" It is with sincere pleasure that I commend The Perry Pictures. 
They have been used widely in our schools* and have everywhere 
proven themselves most helpful. The children gladly forego gum 
and candy to buy the coveted thing of beauty, which may be had for a 
penny. The teachers ars unanimous in their praise of the excellent 
work, the admirable selection, and the intrinsic merit which make 
the pictures so valuable in their classes. I cordially commend the 

Send 2-cent stamp for Catalogue and Sample Picture 

I must express my appreciation of the high standard you maintain 
in The Perry Pictures. You were not only pioneers in the field of 
inexpensive reproductions, but leaders in excellence. Having now 
many imitators — a high compliment to your work — you still hold first 
place. — Henry Turner- Bailey y State Director of Drawing of 

I am glad to make an exception to my rule to commend no school 
material, in favor of The Perry Pictures. I have been greatly inter- 
ested in them from the first, and regard them as a very important 
addition to our school equipment. They should be in every school, 
not only in the larger cities, but in the smallest country districts. — 
G. Stanley Hall. 


Five for 25 Cents 

On paper 10x12 
Send 50 cents for these 10 — Extra Size 

No order for less than five 

4S subjects now ready 

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Four Kittens 
Feeding Her Birds 

Mother and Child Bodenhausen 
Madonna di Tempi 

Can't You Talk ? 
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Pharoah's Horses 
St. Anthony of Padua 

have seen." 

Or we will send any five of these and the five beautiful pictures of " The Prophets," by Sargent, in rhe Boston Public Library, for 50 cents. 
A Superintendent writes : — " I have examined pictures of other firms, but yours of the Extra Size are the clearest and most artistic of any I hav 
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9309 Mink 

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Monthly except July and August 
$1.00 per year. Beautifully Illustrated 

" The Ministry of Pictures," by Dr. G. Stanley Hall, President of Clark University, 
appears in the February, March, April and May numbers. Sarah Louise Arnold, James 
Frederick Hopkins, Irene Weir, Frank A. Hill, Arthur C. Boyden, Henry Turner- 
Bailey, and Laura Fisher are among the contributors. 

A subscriber writes: " I thought I could do without your magazine this year, as J 
am a painting teacher, not a school teacher. But I find I miss it too much to give it up, 
so send my $1.00 asking you to begin my subscription with the January number, as I do not want to miss any this year." 


for The Perry Pictures. The leaves of that dark paper so popular for 
albums. It holds between 50 and 60 pictures. Price, 60 cents, postpaid. 


for The Perry Pictures. Near— Strong — Durable. Holds from 100 to 
150 pictures. Price, 15 cents. 3 for 35 cents, postpaid. 

J~ 4- D**Lr st* 1 r si+isl o r rovtc ^ou should see our new booklet, "Cats." — It may not seem a very dignified title — but there is only 
JIT I BOOKS at ^5 ana 35 CeniS word to describe the booklet— "cute." You will be delighted with it. Price, 35c. Forty other subje 
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" The Use of Pictures in the School-room." By Sarah Louise Arnold. Second edition, full-page illustrations. Price, 10 cents. 


THE PERRY PICTURES CO., Box 33, Malden, Mass. ;— *££ ^ YoKK 

Send all mail orders to the Maiden office 


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•;:a:i~— rmr. 

The Art Institute of Chicago 


21st Year Opened October 2, 1899. Closes 
"June 16, 1900. Students may enter any time 
Special Classes Evenings and Saturdays 

CJ*hp /trt Ttl itltUtf u tlle most comprehensive and probably the largest An School 
A fJC ^L/t AfiMiiuic in thc Unjred States, numbering last year about 1,800 students 
and 80 instructors. The tuition fee, covering all the privileges of the school, is £75 a year. 
For further information, apply to 

N. H. Carpenter, 

Secretary Art Institute, Chicago 

Wbin wrltlot to advvtttMrs. plu 

a Brash and Panell. 


Chicago — 

The purchases of pictures made and prizes 
awarded by clubs at the exhibition of Chi- 
cago artists are as follows : Young Fort- 
nightly prize, to Adolph Shulz; honorable 
mention toAnna L.Stacy ; Catholic Woman's 
League prize, F. C. Peyraud; honorable 
mention to A. E. Albright and Anna Lynch. 
The Chicago Woman's Aid Club bought 
Edgar Cameron's "Glass- Blowers" ; the 
Union League Club, C. F. Browne's "Moon- 
light," Miss Blanke's "Bit of Beach," and 
Janette Buckley's landscape ; the Klio Asso- 
ciation, J. H. Vanderpoel's "In the Dairy"; 
the Arche Club, George Shultz's " Sunset"; 
the Englewood Woman's Club, Frederick 
Mulhaupt's landscape; the Nike Club, a 
landscape by Bertha Menzler, a water-color 
by William Schmedtgen, and a charcoal 
figure by Allen Philbrick; the Woman's 
Club, E. J. Dressler's "After an Autumn 
Shower" ; the Portia Club, a pastel landscape 
by W. Moelley; the Evanston Woman's 
club, a landscape by M. M. Chase; and the 
Travel Class, a pastel landscape by H. C. 

The Commercial Artists' Association held 
its first exhibition of drawings in March, 
at 49 La Salle street. The exhibit contained 
some 200 drawings by local artists and gave 
a good idea of the present condition of com- 
mercial art in and around Chicago. 

The officers of the association are : Henry 
A. Thiede, president; J. M. Doyle, vice- 
president; W. F. Moses, secretary; A. T. 
Williamson, treasurer, and H. A. Hooker, 
sergeant at arms. Harry B. Grant, Adolph 
Kadlowski, Thomas Rogers, Charles Hib- 
beler, and Emii Kleboe are members of the 
executive board. 

The Chicago Architectural Club opened 
its thirteenth annual exhibition in Chicago 
March 20. 

Boston — 
Boston is to have an annual exhibition 

entitled the "New Gallery," beginning next 
autumn. Five well-known artists of that 
city were selected to choose twentv other ar- 
tists, who in turn elected seven jurors for the 
first exhibition. After that the exhibitors of 
the first will themselves elect the jury for 
the succeeding exhibition. The first jury 
will consist of: F. W. Benson, Frank 
Duveneck, Wilton Lockwood, E. C. Tar- 
bell, J. W. Twachtman, F. P. Vinton and J. 

Tf^. K. Cowan &? Company 


of their entire stock 


Michigan Boulevard 

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School of Art """ 9 °° 


Charles E. Langley, Chief Instructor 

Practical instruction given in Oil, Water Color, 
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Portraiture, Book and Newspaper Illustrating, Pen 
and Ink and Water Color Sketching, China 
Painting, etc, 

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CHANGE for MARCH, 1900 

Tbis Book 

is worth writing for if von are interested in the 
study of" illustration. Sent free on application. 

The School of Illustration 

A Practical School — Day and Night Classes Open the Entire 
Year. Pupils may enter at any lime. 


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Aiden Weir. Original works in oil, water- 
color, pastel and sculpture will be shown. 

Minneapolis — 

The dignity and importance of the Ameri- 
can art exhibition which the Minneapolis So- 
ciety of Fine Arts is arranging for March and 
April, will make it one of the principal events 
of the year in the esthetic life of the com- 
munity. Responses have been received from 
the artists who were asked to lend works, in 
such a generous manner as to insure a fine 
collection of over 100 paintings. The ex- 
hibit will open March 26 and continue until 
April 15, in the galley of the public library. 
Mrs. C. W. Wells has been engaged by the 
society to explain the pictures and remain in 
the gallery to meet the inquiries of all visit- 

Lincoln, Neb.— 

The Haydon Art Club has been merged 
into the Nebraska Art Association. The 
aims of the new organization are broader 
than those of the old one, the general plan 
of the new one including the aims of the 
older one and enlarging upon them. The 
Nebraska Art Association will, as the name 
implies, be a state society, and among its 
members will be numbered eventually many 
of the prominent persons interested in art 
residing in the state. 

New York — 

The twenty-second annual exhibition of 
the Society of American Artists opened at 
the Fine Arts Galleries Saturday, March 24. 
The jury's prize selections are: The Webb 
prize of $300 for the best landscape by a 
painter under 40 years of age has been 
awarded to Mr. E. Elmer Schofield for his 
"Autumn in Brittany." Mr. Schofield is a 
stranger whose work has never before been 
seen here. He recently returned from 
Europe to his home in Pennsylvania. The 
picture purchased under the terms of the 
Shaw fund for $1,500 is one by Mr. Irving 
R. Wiles. A young woman is represented 
standing before a mirror arranging a yellow 
rose in her hair. 

The second annual exhibition of the So- 
ciety of Landscape Painters will open in 
New York in the American Art Galleries, 
May 1. 

The third annual exhibition of Ten Ameri- 
can Painters was opened March 14th in New 
York. The artists included in this group 
are : T. W. Dewing, Edward Simmons, 

Wtm wrltlnf to »ltT«1ll«n>. pIuh n 



— H 

B>u>ch & Lamb Optical Co. 

Rochester, N.V. 

A Question 
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Robert Reid, J. H. Twachtman, Childe Has- 
sam, Joseph Decamps, F. W. Benson, E. A. 
Tarbell, Willard Metcalf, and J. Alden Weir. 

The death of William Louis Sontag, a 
well-known artist, occurred in New York. 
He was born in Pittsburg in 1822, and en- 
joyed a wide reputation as a landscape 
painter, and was self-taught. He was one 
of the oldest members of the National Acad- 
emy, and was also a member of the Artists' 
Fund and American Water Color Societies. 

William H. Beard, famous as a painter of 
animals, died at his home in New York City, 
after an illness of several weeks. He was 
born at Painesville, Ohio, on April 13, 1825. 
Mr. Beard took to drawing in early child- 
hood, his first models being the family dog 
and cat. His early instruction was received 
from his elder brother, James H. Beard, an 
artist of repute, whom he followed to New 
York, where his brush secured him sufficient 
support to go to Europe in 1857. Among 
his best known works are "Kittens and 
Guinea Pigs" (1859), "Susanna and the El- 
ders," "Swan and Owls" (i860), "Bears on a 
Bender" (1862), "Bear Dance" (i860, 
"March of Silenus" (1866), "Flaw in the 
Title," "Fallen Landmark" (1867), "The 
Good Shepherd and the Delectable Moun- 
tains" (1869), "Diana and Her Nymphs," 
"Darwin Expounding His Theories," 
"Morning and Evening," "Raining Cats and 
Dogs," "Dickens and His Characters" 
(1871), "Lost Balloon," "Runaway Match" 
(1876), "Divorce Court" (1877), "Bulls 
and Bears in Wall Street" (1879), "Voices 
of the Night" (1880), "Spreading the 
Alarm" (1881), "In the Glen" (1882), 
"Cattle Upon a Thousand Hills," "Eaves- 
droppers," "Who's Afraid" (1884), "His 
Majesty Receives," and "Office Seekers" 
(1886). He published "Humor in Ani- 
mals," a collection of his sketches, in 1885. 

The $100,000 maintenance fund to care 
for J. J. Albright's gift to Buffalo is as- 
sured. Already $68,000 has been sub- 
scribed, and those in charge believe they 
know the sources whence the remaining: 
$32,000 will be forthcoming. 

Brooklyn — 

Brooklyn is to have Tissot's famous 
paintings representing the life of Christ. 
At the last regular meeting of the Board of 
Trustees of the Institute of Arts and Sci- 
ences it was resolved to buy the collection. 
The price is $60,000, of which $13,100 has 
already been subscribed. 

Artistic and Architectural 
Bronze Work 



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Philadelphia — 

The purchases of the Philadelphia Acad- 
emy of the Fine Arts for the Temple col- 
lection are, "Nicodemus Coming to Christ," 
by Henry O. Tanner, which received the 
Walter Lippincott prize, and "The Cafe," by 
John W. Alexander, who received the prize 
in 1899. The attendance to the exhibition 
was exceptionally large for Philadelphia, 
43,992 visitors in forty-two days. Other 
paintings sold were: "The Hillside," by 
Robert Coleman Child ; "La Communiante," 
by James Wilson Morrice ; "Gray Day, Hol- 
land," by Charles P. Gruppe; "At Nan- 
tucket," by Frank C. Mathewson; "Octo- 
ber," by Helen Shelton Smith ; "Evening at 
Montreuil-sur-Mer," by A. D. Gihon; "A 
Bad Pass, Coast of Algeria," by F. A. Bridg- 
man ; "Autumn Twilight," by Leonard Ocht- 
man ; "Morning," by Ernest Lawson ; "Win- 
ter Morning," by T. C. Steele; "On the 
Loire, France," by Charles Morris Young; 
"Sunset in the Dunes," by John G. Saxton; 
"A Bulletin Board," by Ellen Macauley; 
"The Village," by Hugh H. Breckenridge. 

The Darby School of Painting will open 
its second season on May 1, 1900. The 
school may be regarded as in sjme sense a 
summer school for the students of the Penn- 
sylvania Academy of the Fine Arts, inas- 
much as its instructors, Mr. Thomas P. An- 
schutz and Mr. Hugh H. Breckenridge, are 
both members of the Academy faculty. The 
studios of the school are readily accessible, 
Darby being a residence suburb of Philadel- 
phia, and at the same time are surrounded by 
rural scenery affording limitless subjects for 
outdoor study, within the radius of a five 
minutes' walk. 

The increased interest in the art of illus- 
tration is shown by the growth of the School 
of Illustration which, though started as an 
experiment less than two years ago, may now 
be considered as one of the important factors 
in the development of art in the West. The 
distinctive feature of the school is the "prac- 
tical" quality of its instruction, as each in- 
structor is not only experienced in the special 
line of work which he is teaching, but is a 
man well known in his profession. The 
names of Leyendecker, Carqueville, Holme, 
Gaspard and Cameron are familiar to art 
lovers. A course in anatomy under the 
direction of Dr. Mortimer Frank, of the Col- 
lege of Physicians and Surgeons, and a 
series of talks on photo-engraving by Joshua 
Ramsdell are among the latest features in the 
school's announcement. 

Ernest A. Hamill, President 
Charles L. Hutchinson, Vice-Pre&t. 

D. A. Moulton, ad Vice-Prest. 
Frank W. Smith, Cashier 


Corn Exchange 
National Bank 

of Chicago 

Surplus - 



Sidney A. Kent John H. D wight Charles H. Hulburd 

Charles H. Schwab Edwin G. Foreman 

Charles H. W acker Edward B. Butler 

Ernest A. Hamill B. M. Frees 

Charles Counselman Charles L. Hutchinson 


15,000 Newspapers 
and Periodicals 
every week 

Public Men 
Business Men 

and ANYONE wishing to collect 
clippings on any subject, — business 
pointers, material for lectures, sermons 
or debates, — should read our booklet, 
"The Uses of Press Clippings." Sent 
to any address. 

Consolidated Press Clipping Co. 

159 La 8ane Street, CHICAGO 

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i goo 

It is the intention of the Editor and Publishers of The Magazine of Art to mark the issue 
of the Volume that completes the Century with features of 5|iecia! interest. The policy of the past year 
was so warmly approved by the great army of The Magazine of Art readers— for never was a year 
more satisfactorily concluded— that it will, in the main, he maintained ; and certain important improve- 
ments are being introduced in the Arrangement as well as in the Contents. 

The Editor has great pleasure in announcing that by 

Special Favor of her Majesty the Queen 

her artistic treasures preserved in Buckingham Palace will 
be illustrated and described. 

The New Feature, whereby the [most interesting and 
beautiful New Acquisitions at Our National Galleries and 
Museums are published month by month, will be further 
developed. This chapter, illustrating the steady growth of 
the National Art-wealth, has already been recognized as an 
invaluable record not elsewhere to be found. Inasmuch as 
the text is written by experts the feature becomes author- 

The section of the Art Movement receives special at- 
tention. While it illustrates what is best in the Art of the 
Day, and especially in respect to Decorative Art, an effort is 
made to exclude that which only has exaggeration or affec- 
tation to recommend it. 

Art Lore and the Curiosities of Art afford the subject 
of several hitrreslii.g papers already in type. 

Art Collections of repute will be dealt with periodi- 
cally as heretofore. 

Articles are in preparal 
our chief " Rising Artists," 
ready also on Painters of high i 

n which deal with several of 
s well as of Artists who have 
t whose reputation has 

already risen. Illustrated papers ; 
heen unjustly clouded. 

Art Sa'lcs— a suhject of absorbing interest to tl 
fully dealt with than heretofore. 

Many other subjects will be treated — notably o 
received the attention thev deserved. The great Spec 
be set before our readers by distinguished Experts. 

In respect of Color Illustration, the new methods, which admit of almost absolute facsimile, will 
enable us to place before the render not pictures only, but the representation of Objects of Art, with a 
beauty and verisimilitude but a short while since unknown. 

Articles will be as fully Illustrated as heretofore, and Tin-: Magazine of Art will retain its posi- 
tion as the most beautifullv'and artistically illustrated publication devoted to the Arts— printed with all 
the care that can be lavished upon it, and'decorated with Wood Engraving, Rembrandt Photogravure, 
Etching, and such other processes as may most effectively be employed. 

^W^"The exquisite beamy of the engravings i 
letterpress, should carry the magazine into ever 
"The Magazine of Art represents art a 
other periodical." -Saturday Review. 


1 OF Art, and the excellence of the 
is appreciated." — Standard. 

S of the day better than any 

Price, 35 cents Monthly, $350 per year. 


CASSELL & COMPANY, Limited, London, Paris, Melbourne 
7 and 9 West Eighteenth Street, New York 

□ writing to advertisers please n 

i Brush and Pencil. 

Burbank Indian Portraits 



Mr. Burbank's Indian Portraits are painted from life, each one being a sep- 
arate study. They faithfully portray the costumes and tribal characteristics of 
the American Indians, and are valuable from the artistic as well^as from an 
Historic standpoint, 


Comprising 2 1 of Mr. Burbank's latest portraits painted this year, and the 
best specimens of his work, will be ready for delivery December i,at the uniform 
price of 50 cents each. These pictures will not be used in Brush & Pencil or 
any other publication, and will be sold only by the stores and by the publishers. 
They arc much larger than pictures previously published, being 9 j£ inches high, 
of sufficient size to frame to best advantage. The following subjects are included: 

No- Flesh — Ogalalla Sioux] 









Chief Ger6nimo — Apache 13. 

Chief Black Coyote — Arapahoe 1 4. 

Red Woman Squaw — Southern Cheyenne 15. 

Chief Spotted Elk — Sioux 16. 

Chief Stinking Bear — Sioux 17. 

Chief Joseph — Nez Perces 1 8. 

Chief Red Cloud — Ogalalla Sioux 19. 

Standing Soldier — Sioux 20. 

Chief Chief Killer — Southern Cheyenne 21. 
Straight Crazy — Arapahoe 


She- Comes-Out- First — Ogalalla Sioux 

Weasel Tail — Southern Cheyenne 

Iron Crow — Ogalalla Sioux 

Chief Little Wound— Ogalalla Sioux 

No-Flesh — Sioux 

Chief Stinking Bear — SiouxJ 

Chief Red Cloud — Sioux 

Shield — Sioux 

Flush Tow— Polouse 

Kicking Bear — Sioux 


We have a limited number of Artist's Proofs of this new series "A," per- 
sonally signed by the artist. These are limited to 50 each, and are the only signed 
Burbank reproductions to be had. Price, #1.50 each. 

Brush and Pencil has the exclusive right to reproduce Mr. Burbank 9 s 

Portraits in color 


This is the series of portraits first published and used in Brush fc? Pencil 
during the last year. The size of these pictures is 5 x 7 inches. The following 
are the subjects. Price, 25 cents each, postage paid, mounted on good quality 
mats or unmounted. 

22. Quin-Cha-Ke-Cha — Ute 

23. Gi-Aum-E-Hon-O-Me-Tah — Kiowa 

24. Chief Joseph — Nez Perces 

25. Si-Yon-Wee-Teh-Ze-Sah— Zuni 

26. Ger6nimo — Apache 

27. Hong-ee — Moqui 

28. Ko-Pe-Ley— Moqui* 

29. Quen-Chow-a — Moqui 

30. Siem-O-Nad-O — Mojavc 

3 1 . Si- We-Kah— Pueblo 

32. Zi- You- Wah— Moqui 

3 3 • Wick- Ah-Te- Wah— Moqui 

^he Brush & Pencil Publishing Co., 21 J Wabash Avenue, Chicago 




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